An old man who isolated himself for years from civilisation, takes out of pity a young man in his house who he found half naked in nature. But the young man refuses to speak. Still, a connection grows between them. When one day the police knocks on the door, the old man finds out that the young man killed someone. The old man faces a heartbreaking decision: what will he do with the killer in his house?

"This movie is quite exceptional. The director and the actors created a masterpiece in which human emotions and thoughts about the consequences of (anomic) acts are explored in-depth. Although it might seem impossible to evoke all these emotions and reflections in an artistic format that otherwise is characterised by dialogues and (often grotesque) action, it is precisely this what is accomplished by means of a full set of intriguing looks and a few dozens of phrases almost never leading to a real conversation. Some critics have pointed out that the movie is too slow. That just isn't right nor fair: although 'action' in a traditional sense is barely present, this picture is moving in all possible meanings of the word. There's even a lot of tension and excitement in the story as it is visually told and carefully build up, as will certainly be recognized by everyone who enjoyed Alexandr Sokurov's Whispering Pages. A wonderful piece of art!"

"Yesterday I saw in this little gem, a brilliant masterpiece. Expectations were high, but this film is definitely to be recommended! In this time and age, the subject of the movie is not only very relevant, but the language of the film is really of and for this time, and in all modesty, it is really of an unprecedented beauty!"

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"Resurrection" is a sparse meditation on the nature of forgiveness and a reflection of the cruelty inherent in the modern world. Eschewing both excessive dialogue and melodrama, Hoornaert elegantly juxtaposes the simple beauty and sometimes indifference of the natural world, with the complex ethics of human behaviour and understanding. While both protagonists often seem dwarfed by their surroundings, their internal struggles fill the vast empty spaces as they reflect on where their lives have led them. Utilising many long takes and wide shots, the cinematography by Lithuanian Rimvydas Leipus - known for his work on films by Sharunas Bartas – is often stunning, displaying a patient and painterly reverence for the world both our protagonists inhabit. Contemplative and beautiful, this is a cinematic parable that confirms Hoornaert as a major talent." (Tallinn Black Nights Film Festival)​​“Resurrection es cine sensual en estado puro. Bordeando los límites cosidos por maestros como Dreyer, Antonioni o Tarkovsky, trenzada a través de metáforas silentes y sosegadas y contextualizando en una historia pagana algunos símbolos sacro-religiosos que releerán algunos pasajes de la Biblia desde un respeto trascendente.” ​​(Cine Maldito) - full Spanish review - click here.​

​Kristof Hoornaert came to prominence thanks to his short films, which have been selected at numerous festivals. Kaïn (2009) was selected in competition at the Berlin International Film Festival.The Fall (2013), starring Natali Broods and Geert Van Rampelberg, opened the Ostend Film Festival andgot selected in over 45 filmfestivals worldwide. Empire (2015) – the last instalment in his trilogy – took part in the Montreal World Film Festival, the BFI London Film Festival, the Palm Springs ShortFest and Film Fest Gent, among other gatherings. Resurrection is Hoornaert's feature debut.

Johan Leysen (Radegund, The American, Jeune & Jolie, Je vous salue, Marie) and Gilles De Schryver (Come as You Are, Code 37) play the two main characters, while Kris Cuppens (Nue Propriété, Bullhead, Beau Séjour) and ​Thomas Ryckewaert (Waldstille) play major supporting roles.

The cinematography has been entrusted to Lithuanian Director of Photography Rimvydas Leipus,known for his work on the films by Sharunas Bartas, but also Khadak by duo Peter Brosens and Jessica Woodworth. He also partnered up with Peter Krüger on N – The Madness of Reason.